Paint Furniture

An Italian tôle lantern from the 18th century with gilded, rococo motifs on dark metal housing. Crowned with a gilded finial to symbolize a burning flame, the theme continues down th...

Graceful and all handcrafted antique light fixture. This early Arts & Crafts pendant has an aesthetic beauty that you don't find anymore in this day and age. It has the most pleasin...

A beautiful framed Chinese six-fold wall-hanging of silk and paper from the 19th Century, featuring a finely hand-painted landscape scene of birds and flowers.

This charming set comprises seven finely decorated teacups with matching saucers, six of which are signed Minton, one of the most celebrated English porcelain manufacturers of the 19...

GORDON NIELSON - Antique Dutch school watercolor painting on paperboard - signed and dated lower right - contained in the original vintage matte - unframed - Europe - circa 1878. ...

19th century French sideboard buffet, crafted in hardwood with an old painted finish. While the paint is aged, it is not original...

The Root Console Table by MainGUILTY is a contemporary sculptural console that translates the organic strength of nature into a refined piece of collectible design furniture. Inspire...

1930s Torino glazed porcelain sculpture of seated Venus on shell over dolphins, manufactured by Lenci, Italy By: Lenci Material: ceramic, porcelain, enamel, paint, clay Technique: c...

This is a stunning 18th c. Swedish trag sofa bench Tragsofa / Trägsoffa (sofa bed) from the Gustavian period newly upholstered in linen, circa 1790. Shaped arms and beautiful guilloc...

Fantastic set of of two pairs of iron with spring steel Sunburst outdoor dining chairs by Francois Carre c1975. Spectacular style with arched backs that replicate a breastplate with ...

Pair of painted Louis XV style armchairs, late 19th century. With floral carved cupids bow crest rails, upholstered backs, serpentine shaped arm supports and upholstered armrests, s...

A particularly beautiful antique French Louis Philippe mirror, dating from the second half of the 19th century, with an old atelier stamp and date on the reverse. The mirror has the ...

Faesch, Johann Ludwig [Whirsker] The Metamorphoses of Melpomene and Thalia, or Dramatic Characters of the French and Italian Comedies London: Printed for Robert Sayer, 1772. 12mo, ...

1920s Art Déco French Le Verre Français hand-painted frosted glass vase designed by Charder By: Chander, Le Verre Français, Schneider Material: glass, art glass, paint Technique: ca...

SALVADOR SANZ FAUS (1914-1997) - 'El Perro' - Remarkable and rare mid century hand painted, glazed and cold painted ceramic wall or cabinet plate - large size - featuring a Surrealis...

A striking hand carved Pacific Northwest Coast totem pole by Nuu-chah-nulth artist Sam Williams (1884?-1979). Williams was born in Vancouve...

Wonderful hand painted textured Gustavian style chest of drawers. This commode has been constructed from solid wood with a hand-applied black distressed finish with brass ring hardwa...

Sarreid Round Chinoiserie Gueridon Side Table. Brass framed table with a circular painted center with chinoiserie decoration depicting men in fields. The circular brass top with thre...

If you're looking for something special, or if you just love extravagance and really appreciate exceptional design and high-quality craftsmanship, then you've come to the right place...

An extraordinarily rare and visually striking 16th-century Venetian iron treasure coffer, showcasing the height of Renaissance artistry and engineering. Crafted in the early to mid-1...

Important and refined oval polychrome stucco depicting the Madonna and Child. The mother and child are held in a tender embrace, and in addition to the Madonna's typical robes, two h...

A handsome and sophisticated mixed media on canvas by American artist John Rigsby. Found in a original state of preservation. His works are few and far between. The following biography was submitted by John David Rigsby, Jr., son of the artist. The author is Lisa Rigsby Peterson, daughter of the artist, and owner of the copyright of the biography. John David Rigsby was born on October 10, 1934, the seventh child of an Alabama Depression-era sharecropper's son. He and his family moved frequently, from one one-room structure to another, often with no running water, no plumbing, no heat but the stove. His father was killed in a car accident when Rigsby was just 9 years old. Life for the remaining eight family members proved tumultuous and difficult -- food wasn't plentiful, nor money. The family moved from place to place, following work -- Rigsby attended 30 different schools before graduating from high school. Despite living in poverty, Rigsby demonstrated academic and artistic aptitude at a young age. Two oil paintings on covers ripped off of old books that he painted when he was eight years old show the promise of an imaginative and gifted eye. Rigsby was drafted by the U.S. Army in 1953. As he later wrote, "When basic training at Fort Jackson, South Carolina, was over, I was told to go out and find a job. Jasper Johns was painting visual aids for the 28th Regimental Headquarters. He suggested the Band Training Unit." Rigsby played the clarinet in that unit, and after 2 years of service, he enrolled at the University of Alabama on the G.I. Bill to study art. After just two years, he left school and followed his mentor (and one of the greatest and longest-lasting influences on his art), Japanese artist and U of A art instructor Tatsu Heima, to New York City. Heima introduced him to Isamu Noguchi and suggested that Rigsby work as Noguchi's assistant. Instead, Rigsby chose a job as a guard at the Metropolitan Museum of Art, since "the notion of seeing all of that art appealed more to me than the boring task of studio assistant." The opportunity was a rich one for Rigsby. He had a chance to study the masters, and cited Rembrandt with his simplicity and elegance as another of the most important influences on his work. In the years between 1957 and 1963, when Rigsby eventually earned his BFA in sculpture, the artist traveled back and forth between New York and Tuscaloosa, alternating study with forays into the fertile New York art scene. Rigsby exhibited some of his early sculpture work in 1958 at a small New York gallery, which was also exhibiting the work of Willem and Elaine de Kooning and Theodore Stamos. Shortly thereafter, searching for an educational venue closer to New York City, Rigsby visited New Haven, Connecticut, and spent an afternoon speaking with Josef Albers at Yale. Albers agreed to accept Rigsby into the Yale program on the condition that he take freshman drawing all over again. A brilliant opportunity, but, in Rigsby's words, "When it was time to register, I was hitchhiking back to Alabama, looking for food and shelter." Rigsby had his first one-man show at the University of Alabama in 1959. A visiting critic from New York, J.F. Goosen, reviewed the show and wrote "here is a talent which produces art because that is the thing for a gifted person to do. In his effortless ease of conception and execution, he has already achieved a goal that eludes many artists for a lifetime." Finally, in 1963, Rigsby received his degree in sculpture, dissolved a short-lived marriage, visited his family, packed up his car and headed permanently for New York. That year, his work was included in a group show at the Delgado Museum in New Orleans - which led to a one-man exhibit at the Delgado in 1964. During 1964, Rigsby took drawing classes at Columbia University, and worked at the General Post Office at night. He met his future wife, Linda Palmieri, and married. In 1965, his daughter Lisa was born, followed in 1966 by the birth of his son, John David Jr. In 1966, Rigsby had a successful one-man show at the Pietrantonio Gallery in New York. Shortly thereafter, he and the family moved to Tunis, Tunisia at the suggestion of a colleague, who urged him to "come paint by the light of Klee." Rigsby worked for the United States Information Agency as a teacher, and he spent the next year and a half painting over ninety paintings inspired by the smells, light, and Phoenician and Roman art surrounding him. He also executed a number of character and landscape drawings, capturing the Tunisian way of life. During his time in Tunisia, Rigsby's work was shown there in two major exhibits. Upon the family's return to the U.S. in 1968, Rigsby once again exhibited at the Pietrantonio Gallery. Later that year, Rigsby enrolled in Southern Connecticut State College's Urban Studies program, earning a master's degree in 1970. During his time at SCSU, Rigsby worked as the city of Bridgeport's Curator of Exhibits, driving a mobile art gallery from schools to neighborhood fairs and housing projects. After completing his degree, Rigsby had an exhibit at the Telfair Museum in Savannah, Georgia. This exhibit caught the attention of a member of the search committee looking to hire an artist for a newly-developed program in neighboring South Carolina. In 1970, Rigsby was selected as the first Artist-in-Residence in the state of South Carolina for the National Endowment for the Arts Artists in Schools program. His work with the newly-integrated students at Beaufort (SC) High School over the term of his residency precluded substantial work on his own art. He did, however, set up a studio in downtown Beaufort, and was able to create a modest number of paintings, which were included in exhibits at the Columbia Museum in South Carolina in 1971 and Yale University in 1973. At the end of his residency in 1974, Rigsby was named the National Visual Arts Coordinator of the Artists in Schools program for the NEA, a post he held for two years. In this position, Rigsby traveled the country, reviewing grant applications, meeting with state leaders in government, education and the arts to promote program concepts and explore local opportunities. The message he repeated over and over again echoed that of one of the other major influences on Rigsby as an artist - Ruth Asawa Lanier, whose words taught him that all of the work that the artist does is the artist's work, not simply the paintings he creates. In his capacity as National Coordinator, as well as many times in the future, Rigsby stressed that artists function in the same way as any other person in society, and deserved the same respect and place for their work as did all other professions. After two years traveling the country, Rigsby was ready for a change, saying "for the first time in my adult life, there was not a body of paintings to show for the years put into my work." In 1976, a summer retreat to the mountain community of Central City, Colorado, led to a permanent relocation. Eventually settling in the small town of Evergreen, Rigsby followed his own advice about artists becoming actively involved in their communities, and he established the Evergreen Visual Arts Center. The Center provided working space for artists, classes for adults and children, and, most importantly, a place for Rigsby to create his own work. Buoyed by the opportunity to concentrate once again on his art, and inspired by his new surroundings, Rigsby entered an extremely prolific period in his career. In 1977, he organized a traveling exhibition of his paintings, which showed at the Kimball Arts Center in Utah, the Kennedy Center in Washington, D.C., and the Arvada Center in Colorado. 1978 brought more exhibits, notably in Aspen and Denver, as Rigsby's work continued. He took an extended trip to visit his mentor, Tatsu Heima, in Japan, where he climbed Mt. Fuji, followed by travels to Tehran, Delhi, and several European countries. He chronicled his impressions from his travels in a small collection of paintings upon his return to the U.S. - the beginning of a practice which would continue through the rest of his life. In 1979, Rigsby's marriage failed, and at the same time he lost the lease to his Evergreen studio to redevelopment plans. In response to the personal chaos around him, Rigsby began a series of what he called "hard-nosed process paintings," the watercolor paintings of dots which marked his work from this period. The paintings gained him an NEA Individual Artist grant in 1980, as well as a Yaddo fellowship in 1981. The polka dot paintings were followed by a series of cupcake-like images, again examining space and color. During the early 1980s, Rigsby lived in a suite of old dentists' offices in a rundown part of Denver, with a studio in an area that reminded him of the Bowery in New York. In 1984, Rigsby founded the Progreso Gallery in the building where he lived, using the space both to show his own work and also to mount shows of the work of many Colorado artists. The gallery also served as a focal point for Denver's local arts community, hosting weekly discussion groups and classes. In 1984, Rigsby traveled to the Baja Peninsula and then in 1985 to Yugoslavia. After each sojourn, Rigsby returned to create vibrant and explosive paintings based on his experiences, showing them at his Progreso gallery and another alternative gallery in Denver, the Edge Gallery. The economic recession of the mid-eighties hit the art market and Rigsby hard, however, and although he continued to create new works of art, major exhibitions were difficult to come by. In 1987, Rigsby decided to leave Denver and spent six months in Barcelona, Spain. It was an electrifying trip for him. Rigsby wrote of that time: "The streets alone are a visual feast, and the additions of museums from Saarinen, Picasso and Miro to 12th century icons produced artistic indigestion. My paintings are always about the way things look and feel. Barcelona was a time machine extending those sensory and emotional concerns back to the Middle Ages. I felt the need to reduce my work to essential elements of color, scale, drawing and format. The [resulting] color studies speak eloquently for themselves, and in doing so, redefine all of the work I've done in the past 35 years of painting." Rigsby completed over a hundred paintings while in Barcelona - color studies, street portraits of the characters he encountered on a daily basis, and a number of dark landscape paintings. He found time to run with the bulls in Pamplona, and began writing stories about his adventures that were later published. Upon his return to Denver in 1988, Rigsby continued to explore the alter egos of the color studies - he concentrated on a series of dark paintings, all prominently featuring back. He commented about these black paintings that he " decided it was time to explore the perception of the eye and physical space as defined by low -light conditions…I find these paintings elegant, joyous and light-filled, with no feeling of heaviness at all." In mid-1988, Rigsby moved permanently to Houston, Texas, where he would spend the last five years of his life. Once in Houston, Rigsby made a discovery that would serve as the inspiration and material for some of the last works of his career. In 1989, he discovered a salvage yard filled with scrap rubber, and he began working on black rubber sculptures, as well as paintings with rubber elements incorporated. He made strong connections in the Houston alternative arts scene, and became a regular contributor and art critic for a local weekly newspaper, The Public News. From 1989 through 1992, he exhibited his sculptures and paintings at Houston's Brent Gallery, Fountainhead Gallery, and Blaffer Gallery. He also produced an installation of his rubber sculptures on the roof of the Diverse Works Gallery in Houston. 1992 also marked Rigsby's return to Denver when he exhibited his sculptures at the Payton-Rule Gallery in Denver, leading to an Absolut Rigsby commission by Carillon Importers. The 1990s were a tremendous struggle for Rigsby, with financial crises compounded by physical trauma (he accidentally sawed off the top joint of the index finger of his left hand while working in his studio). Although his work was being shown, it wasn't selling, and the tremendous financial pressure he felt weighed heavily upon him. He spent an increasing proportion of his time going to flea markets and garage sales, rehabilitating and repairing the things he bought there, and then re-selling them simply to raise enough money to keep a roof over his head. He had little time to paint or sculpt, the things in life that had always, no matter what the circumstances, brought him joy. Rigsby's final works were a series of intricate paintings and drawings on used books that he purchased at the flea market. Most of these drawings, which he referred to as sculptural form drawings, were executed on page after page of science texts, music books, and a Korean bible and fill hundreds of pages. Additionally, Rigsby created an exquisite book he titled 28 de los Angeles, in which his twenty-eight simple and elegant drawings of angels resonated with the influence of Rembrandt he had so admired in his early days. In a sense, Rigsby's final works, art created on used books which were the only materials he could afford, brought his work and life full circle from his childhood days. Rigsby's life, though begun and ended in adversity, was nonetheless illuminated and enriched by the irresistible impulse he had to create art and beauty. John David Rigsby was killed in a one-car accident in Colorado in August, 1993. Biography from the Archives of askART Following is a review by Michael Paglia of the artist's July 2004 retrospective at the Denver Museum of Contemporary Art. It was submitted by John Rigsby, Jr., son of the artist. There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. "Dots, Blobs and Angels" surveys more than forty years' worth of the remarkable artist's paintings and sculptures. The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy...

Pair of late 18th century Swedish period Gustavian chairs with hand scraped to its most original finish. This type of chair is called the Swedish model, oval back frame with carved r...

Exceptional large scale portrait painting newly identified as that of Karel van Lynden, Lord of Swanenburg (c. 1707 - 1742) portrayed bewigged and in crimson mantle-enwrapped armor a...

This small French Louis Philippe mirror embodies the understated elegance of the mid-19th century. The frame features the characteristic softly arched top that is so typical of the L...

Set of 4 Asian Chinese style (20th Century) black lacquer screen panels depicting geishas, intaglio etched with painting (PRICED AS SET).

A wonderfully handcrafted/detailed and decorated Native American Hopi Mudhead Kachina doll. Quite an unusually large work. A striking piece overall. Hand painted with leather and possibly turquoise (necklace) accompaniment. Hopi katsina figures, also known as kachina dolls, are figures carved, typically from cottonwood root by the Hopi people. Initially, kachina dolls were made to instruct young girls and new brides about katsinas or katsinam, the immortal beings that bring rain, control other aspects of the natural world and society, and act as messengers between humans and the spirit world. The Mudhead or Koyemsi figure is viewed as a clown/joker figure who is responsible for laughter and entertainment at Hopi dances and ceremonial events. He plays drums and games to keep his audience engaged. The piece is signed by the artist under the base. From an extensive collection of Native American objects and artifacts. Would be a great addition to any Native American Art...

MANITOULIN INDIAN HANDICRAFT - Vintage hand-painted miniature cedar wood totem pole - produced on the West Bay Reserve (now M'Chigeeng First Nation) on Manitoulin Island - hand carve...

A four-doored sideboard in hand-patinated brass. Each door operates on push-to-open, soft-close hinges. Handcrafted in the North to order, this sideboard can be commissioned in besp...

This elegant Swedish oak secretary shows off with a distinctive carved top bonnet or crown and round finials. Also known as a bureau, this secretary would have been a "signature stat...

Populate your garden or patio with this curious and whimsical toadstool made in England. Handcrafted from reconstituted stone and metal pipe with hand-painted decoration. Would also ...

A charming vintage rustic pine coffee table with a teal painted base and turned legs. The front apron of the table was carved and scalloped while the sides and back are straight pan...

19th-century oil on canvas depicting two terriers in an outdoor landscape. Unsigned. On the reverse bears the stenciled mark of W. Schaus, Print Seller & Artists Colorman, 749 Broa...

Original green paint 1940s

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Vintage French Louis XVI Style Hollywood Regency Settee Loveseat Sofa. Item features ...

An atmospheric tonalist paintingof a beach in fog titled "Peace", by the beloved Nantucket artist Barbara J. Cocker (1923–2009). Her seascape and marine paintings explored the coasta...

Outstanding 18th century, Italian carved and giltwood altar sticks with circular tops, carved applied putti decoration and scrolled feet. Some paint losses, repairs and varying degre...

An aesthetic of honesty permeates Yet Design’s furniture, showcasing the power and beauty of simple geometric shapes. Their timeless designs combine sculptural forms, the material’s ...

This is a large original vintage oil on canvas coastal landscape painting by renowned Danish painter Viggo Bertram Jacobsen (1900-1969). The painting is impressionistic in style wi...

Vintage Kholui hand painted papier mâché box with hinged lid - fine quality - featuring a Russian folklore painting of the Snow Maiden to the raised oval section on the top of the re...

A very rare 19th century cast iron equine hitching post in the form of a jock-ey. The jockey is classically dressed in the 19th century riding attire, com-prising of a black riding hat, red jacket and cream jodhpurs. The jockey is poised on a moulded blue plinth...

Mid-20th century foldable leather travel alarm clock by swiss Jaeger-LeCoultre for the luxury design house Hermès Paris, France By: Hermès ...

A rare and monumental owl sculpture by Mexican master artist Sergio Bustamante, standing an impressive 31 inches tall. This striking owl beautifully synthesizes everything Bustamante...

Auguste DURST (French 1842-1930). Oil on Canvas - Children playing among chickens in the post impressionist style. Signed lower right. 26.5 x 34.5 cm. Important gilded stuccoed ...

Beautiful tile mural with the "Floral" motif finely painted. Quantity: 35 tiles Tile mural size: 29.5"H X 41.3"W (75cm X 105cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Po...

Swedish 18th Century chest of drawers painted a later Gustavian black paint and patina. This classic commode is a very versatile piece that works well in a foyer, living room or bedr...

Portrait miniature depicting a lady in Elizabethan dress with ruff collar and jeweled bodice, rendered in watercolor on a thin ivory tablet. The sitter is shown in three-quarter vi...

Italian, Baroque/Rococo period (18th century) footstool with the most elegant carvings across the apron and cabriole legs. Presently the boxed seat is upholstered in a serene shade o...

Art Deco style gueridon table in burled wood veneer having a beautifully designed, burled top over a tulip form base. The four ebonized legs are attached to a stepped platform of olivewood. Europe. With its clean, geometric forms and lustrous surfaces, this piece reflects the timeless elegance of the 1920s and brings a sense of classic sophistication to any interior. This French marquetry table...

An exceptional and highly decorative Art Nouveau plant stand, handcrafted in wrought iron around 1900. Beautifully executed with flowing organic lines, the stand is richly adorned wi...

A gorgeous and quite striking four-panel Japanese Byobu folding screen featuring an elegantly clad Lady Murasaki, the Japanese novelist, (and famed author of the classic "Tale of Gen...

A highly decorative late 18th-century Dutch or Northern European School flower still life, painted in oil on a chamfered oak panel. The composition follows the Dutch still-life trad...

A charming pair of mid-century elephant garden stools or side tables, finished in a vibrant emerald green ceramic glaze. Rich in color and beautifully detailed, the sculpted forms ca...

Pair French Louis XVI Painted Side Tables ~ Nightstands with Carrara Marble will create a light yet vibrant visual effect in any room! Painted in an antique white crackle finish, th...

This exceptional original American Regionalist watercolor and gouache mural study perfectly encapsulates the optimistic "Progress and Industry" design spirit of the Works Progress Administration (WPA) era. Masterfully executed by acclaimed St. Louis muralist and WPA artist Michael Chomyk (1911–1993), the composition vividly chronicles the evolution of mid-century American infrastructure, transportation, and trade. The panoramic scene dynamically bridges two distinct worlds: a quiet, rural farm landscape complete with a traditional red barn and silos, and a bustling symbol of modern progress. Cutting through the countryside is a sleek, aerodynamic streamlined rail train, while a classic multi-engine propeller plane slices through the sky above. Both elements of transportation guide the viewer's eye toward a towering, geometric Art Deco NYC...

Elegant Swedish pedestal table with circular top and turned base supported by carved slender scrolling legs in Gustavian style. Useful for many places, easy to move around. Värmland,...

Stan Natchez (Shoshone/Paiute, b. 1954) Navajo against a phone directory Mixed media on canvas Unsigned 123cm x 22cm Provenance: Property from a Private Collection, Berkshire Acquir...

A very handsome Baroque-style cabinet was made in Germany at the end of the 18th century. It has a detachable base with a drawer over bun feet. Above sits a compartment with two paneled doors flanked by barely twisted...

The Governor's Mansion in California Sacramento Acrylic on Canvas Painting, Douglas K. Gifford (American) American contemporary painter, Douglas K. Gifford, was born in Evanston, Illinois. He began painting in 1967 at which time he transferred from Bucknell University to The Ringling Art School. After graduating, cumulative awards and commissions led to one-artist shows in New York, Palm Beach, Nantucket, and Naples. A representational painter of architecture, an early influence was Edward Hopper. Then Gifford’s constructionist concept of space led to his invention of a three dimensional technique called Stereo Schema Realism. It is his alone. "The Governor" depicts an abbreviated version of one of San Francisco's more elaborate show places...

A scale model ship of a USS Constitution. This is a very nice scale model of the historical American warship USS Constitution created around the 1960 and 1970. Made with beautiful craftmanship, with very nice details and have an outstanding eye appeal. The ship has been crafted with parts made-up in carved wood, linen, cords and is presented and mounted in a display base carved in wood. This will be a great conversation piece and will display wonderful in your home or office. Recently we acquired a collection of this kind of model ships and signal cannons. Please take a look in our other listings and feel free to made us any question and ask for any extra pictures if you need. The ship is fully assembled and ready for display (not a kit) and has been inspected and carefully cleaned with no dust. The USS Constitution Was originally launched in 1797. The USS Constitution ("Old Ironsides") is the world's oldest commissioned warship still afloat, renowned for her undefeated record in the War of 1812. Built in Boston as one of the U.S. Navy’s original six frigates, she defended American commerce, served as a diplomatic vessel, and remains an active, historic ship of state. Country: Continental, Europe or United States. Period: Mid-century, modernist, 1960-1970. Model: USS Constitution. Materials: Wood, bronze, brass, linen and cords. Weight: About 16 pounds, (7.26 Kg.). Measurements: H. 673 mm by L. 953 mm by D. 236 mm, (26.5 x 37.5 x 9.3 Inches). Condition: The overall condition of this USS Constitution model...